A short excerpt from the middle of the 3rd track of the Vulf Turner project in its current state. 

11cd.13m3.17M3

CLOUD (RMX)

A taster of the collaboration between Vulf Turner and Sow Discord, tentatively under the title "Panic Room"

Oppressive, atonal, throbbing bass drenched fields of granular synthesised sounds set in conflict with hard beats and blips.

Rules for this project: No variation. No effects. No delay. No normal pitches, only frequencies. No dynamics. No synchronisation. No midi. No octaves. No samples. No introductions or breaks. No structure. No swing. No groove. No form, no space, no music, no expression. No uplift, no escape, no release. 

Submit. Enclose. Obey. Endure.





Panic Room 1.11 (147 bpm)

Second taster of the upcoming "Panic Room" EP

Panic Room 1.75 (165 bpm)

Made entirely from a single percussion sound (the sound you hear first in fact) and multiple levels of temporal manipulation. The beats are overlapped 11 layers of prime multiples of a very fast pulse, with the bass sounds coming at 43, 41, 37 and 31 multiples of the pulse. There is no rhythmic repetition at all at a global level, these rhythms could go for many days without repeating exactly the same patterns. What sounds like "normal" synth oscillators in the upper registers are actually sped up copies of the same rhythmic structures but sped up to the point that they become pitches of a certain timbre. Only one chord is used, the famous "atonal triad" of a  perfect fourth and an augmented fourth (C, F and B). What appears as changes of harmony are actually changes in the prime numbered multiples of the clock divisions which start out at simple 2, 3 and 5 but occasionally become higher primes (which gives the impression of greater dissonance and microtonal deviation as you move further up the harmonic series). I had to do them manually and currently researching how to automate these to make them immediate (they are a little sloppy sometimes). All the harmony perceived by the ear is derived from multiples of that one chord: your ear hears a chord made of chords made of chords. So, in short, this piece is entirely derived from the first 11 prime numbers at timbral, rhythmic and pitch levels. It's a good taste of where my current research is leading me. And as usual, there is no MIDI or sequencing. It's controlled entirely intuitively and by manually adjusting the structures of the sounds. 

Cloudchasing (Version 1)

Vulf Turner is a side project of Wolftöne (or vice versa): they may or may not be the same person but their names are homophones of one another even if the work itself is radically different.

Vulf Turner makes post-human dance music: polymetrical, polyrhythmic music that uses the sonic resources of "minimal techno" but without a single 4/4 time signature to be found.

The large-scale project under construction currently will comprise 11 releases of 5 long tracks each.

This page is for sketches and excerpts.

VulfTurner